Doddy

[quote name='EssentialTension' timestamp='1319302589' post='1412535'] Here you go: [/quote] That looks ace.

Keith Horne is a monster player. He's part of the 'Virginia Bass Pack' along with Victor Wooten and Oteil Burbridge.

Modern reading Text in 4/4 is a great book for rhythms. It doesn't do the whole explanation thing,but it's great for practising your reading-it gets pretty complex too.

A good simple exercise is to play the changes of a standard like Autumn Leaves using just chord tones. When you are comfortable,try playing the same thing but play a semitone below each chord tone before each note...eg. If the arpeggio is C,E,G,B, play bC,d#E,f#G,aB. So now you are already using non chord tones and chromatics.

[quote name='Amafi' timestamp='1319050571' post='1409402']Thanks for replies everyone. Seems I asked the right place. @ Bilbo. I interpreted your reply as most blues being played in a Myxolydian (Dominant?) scale, therefore if I was to jam to a blues tune in A, then I should/could be playing an A Myxolydian scale over the whole thing? (A, D, E) Forgive my ignorance, I forgot to mention I was an idiot in my initial post, lol. [/quote] The thing with Blues is that they are usually all 7 chords..for example A7,D7,E7. You can comfortably use the Mixolydian mode for all the changes but you would really need to change the root. If you blanket the changes with A Mixolydian there will be a clash of some notes- D7 contains a C natural,whilst E7 contains a G#,both of which will clash with the C# and G natural of the A Mixolydian mode. Edit.....In your first post you say that you know the Major and Minor scales and everything. Are you just playing the patterns and moving them around the 'board or do you actually 'know' them-as in you know how they are constructed and what notes they contain?

[quote name='phatbass787' timestamp='1318963177' post='1408378'] Pics! What cab/s you using? How you getting on with it? Very interested in getting one of these for gigs Where I can't be arsed to take my big rig.[/quote] You don't need any pics-it looks like it does on the website I'm still using my Bergantino HS410 right now,but i'll probably get a couple of matching Ashdowns when they bring out their small cabs. I'm loving it...it sounds great.

The fourth and the fifth notes of the scale are referred to as being 'perfect' when they are not altered. There are plenty of other scales besides Pentatonic,Chromatic and 'Natural' (I'm assuming you mean 'Diatonic')........Major,Minor,Harmonic Minor,Melodic Minor,Whole Tone,Diminished,Altered....just a few I can think of off the top of my head. Modally,there are another set based of the notes of the minor scale.

[quote name='rOB' timestamp='1318669212' post='1404903']Would your drummer be annoyed if another band didn't explicitly ask about drum share ahead of time?[/quote] I've known guys flat out refuse to let people share their drums when there has been no communication beforehand and they just turn up and expect to use their gear.

It's just wear on the maple 'board where the lacquer has peeled off and the wood has discoloured. It happens over time and with wear.

My favourite envelope filter is the EMMA DiscumBOBulator. I also dig the Boomstick Bottom Feeder. If you want something different,check out the Pigtronix Envelope Phaser-either the EP-1 or the EP-2 (I use the EP-1). It's a great envelope filter but it's also a great phaser-you can get some really cool sounds out of it.

Ralphe Armstrong is great....although my favourite player with Mahavishnu was Rick Laird.

[quote name='wateroftyne' timestamp='1318611608' post='1404408'] Excellent.. I really hope this is a hit for them. [/quote] It deserves to be..it's a cracker.

So....anyone care to guess what my new amp is? I tried out the MiBass 550 this afternoon,and promptly purchased it. Quality wise it's totally solid. The controls are smooth and it doesn't look or feel as cheap as the Little Giant....it's up there with my Genz (maybe slightly better?). Sound-wise,it's brilliant.It has a great,clean flat tone and the EQ has great range. It can go from a super bassy and fat sound to a modern hi-fi,full range tone. It also doesn't have the hiss in the top end that I found in the TC heads. I can honestly say that I think this head is a serious contender in the small heads market.I preferred the sound of the MiBass over the TC and even the Little Mark. I find it similar to my Genz Benz in some ways,but possibly with greater EQ range. Ashdown have really got it right with the MiBass.....I'd recommend anyone to check it out, especially all the non Ashdown fans-it may just change your mind. It did mine.

I've just been listening to a couple of other guys who I rarely (if ever) see mentioned on here.... Tim Lefebvre...plays some great stuff with guys like Wayne Krantz and the band Rudder. He's got some great stuff happening with effects. Sean Hurley-Vertical Horizon and John Mayer...He plays some really nice understated stuff,but can break out some really melodic stuff too. He's a really under rated player. Reggie Hamilton-I only seem to see him mentioned in respect to his signature bass. He's a monster player on both electric and upright and his list of credits is crazy. Neil Jason-He's another player who has played on hundreds of records but also has great chops (check out his work with the Brecker Bros.). He's also Will Lee's dep on Letterman.

Ayup Matt. How you doing bud? Paul

[quote name='stingrayPete1977' timestamp='1318449671' post='1402447'] I love Bergs but Im a Genz slut at heart [/quote] But Genz Benz heads with Bergantino cabs is a great match

I think if you are going to get an acoustic bass guitar you would be a lot better off buying one that has a pickup. You don't have to plug it in but if you are playing with others,chances are that you'll have to. Most acoustic bass guitars don't have enough volume to be heard alongside a couple of acoustic guitars.

[quote name='chris_b' timestamp='1318372991' post='1401454'] Interesting.... the guys at American Studios, where Tommy Cogbill recorded, say that he played bass on Memphis Soul Stew! [/quote] I though that was played by Jerry Jemmott? Tommy Cogbill played some great stuff.

I very rarely see Reed Mathis get mentioned anywhere... He played some great stuff on both electric and upright with Jacob Fred Jazz Odyssey. Kind of like Medeski,Martin and Wood (Chris Wood is a great player too).

I don't think that tuners 'kill the vibe' or anything. I think that where problems arise is when people rely on the needle on the tuner rather than their ears. If you play with a real piano,you are far better off tuning to that rather than use the tuner because it's likely that its not going to be perfectly in tune. As far as I'm concerned,it doesn't make any difference to the 'vibe' if you are all in tune,be that 'correctly' in tune or not,as long as you are in tune with each other.

Ooohhh..... I was hoping that no one would stock Lulls,especially because I've heard that he's making a Bryan Beller signature model which I'd be very tempted to buy.

Me.... (in an original project)"It might sound good if you play a B minor chord there" Keys player.... "How do I play that?" Me....."B,D,F#" Keys player....'Where are they?" (starts fumbling around) I'm out.

Personally,I don't think it matters. I certainly can't tell the difference,and once the sound has passed through everything else I think what difference it might make is pretty insignificant

[quote name='zac362' timestamp='1317919410' post='1396298'] that was one of my first worries lol [/quote] That really shouldn't be a worry.